Reviews

"The play — staged with simple effectiveness on a bare-bones academic set by Takeshi Kata and Se Oh that's lyrically lifted by Elizabeth Harper's lighting — employs a strategy that nearly gave me a heart attack the first time around."

Charles McNulty, LA Times, Office Hour

"Breathtaking lighting by Elizabeth Harper"

Margaret Gray, LA Times, Grapes of Wrath

"People talk idly about designs serving a play, but the sculpted environment is genuinely a central participant here. Craig Siebels' narrow little boxes for act one's Southie locations are brightly lit by Elizabeth Harper to reveal the pulse of life within, whereas act two presents a wide expanse of glittering manse in which shadows hint at ugly secrets."

Bob Verini, Variety, Good People

"[The show put] most rock and electronic bands with firm set lists, little room for improvisation, and no bitchin’ light shows to shame. I was promised strobes and fog machines to simulate a beheading, and it was bequeathed unto me. God, if only The Pajama Game had featured a scene of Doris Day’s severed head dangling on the factory floor as a warning to the labor union."

A. Wolfe, Vice Magazine, The Last Days of Mary Stuart

"Elizabeth Harper's lighting design is haunting."

Tom Titus, LA Times, Little Black Shadows

"The stellar ensemble shines in a production enriched by lighting designer Elizabeth Harper and scenic designer Michael Ganio, whose hauntingly lit tenement towers loom over the Younger household like the crushing weight of history itself."